"Under the rules of the criminal law, as it is practised, I can’t see, even in cold retrospect, that Bill Fallon ever did anything in the actual courtroom that wasn’t all right. That isn’t because I have respect for Bill’s methods; it’s because I haven’t any respect at all for the criminal law. I think it’s a howling screaming joke. And Bill Fallon proved it to my satisfaction. […]
Bill showed how far you could go with the the rules as they stand."
— Donald Henderson Clarke, In the Reign of Rothstein
wassss tagged by newperspective-xo
You can tell a lot about someone by the music they listen to. Hit shuffle on your iPod/iPhone/iTunes/media player and write down the first
10 13 songs. Then pass this onto 10 people.
(i am adding lyrics again because words. and not tagging anyone this time because i’ve already sent this around two or three times, er. i will do this for always, but figure at some point i oughtta stop with the pesterings.)
- Russian Red Army Choir, ‘Farewell of Slavianka’
- Jesus Christ Superstar, ‘Trial Before Pilate’: don’t let me stop your great self-destruction / die if you want to, you misguided martyr
- Ludo, ‘Love Me Dead’: you’re a faith-healer on tv / you’re an office park without any trees
- Majora’s Mask, ‘Clock Tower’
- Laura Marling, ‘You’re No God’: and you will never leave this place / and you will always feel alone / and you will never feel quite clean / in this new skin that you have grown
- The Beatles, ‘Here, There and Everywhere’: each one believing that love never dies / watching their eyes and hoping I’m always there
- Spring Awakening, ‘Mama Who Bore Me’: and some just lie there crying / for him to come and find them / but when he comes / they don’t know how to go
- Sonic 3, ‘Angel Island Zone 1’
- 1776, ‘Sit Down, John’: someone ought to ooooopen up a window!
- Dennis Nedry remix: see? nobody cares
- Mark Lanegan, ‘One Hundred Days’: there is no morphine, i’m only sleeping / there is no crime to dreams like this
- Jefferson Airplane, ‘White Rabbit’: and if you go chasing rabbits / and you know you’re going to fall / tell ‘em a hookah smoking caterpillar / has given you the call
- Bernie, Ben, and His Hotel Roosevelt Orchestra, ‘He’s the Last Word’: he may be meek and quiet when there’s a crowd about / but he’s a red-hot riot when all the folks go out
ummmm also vincethepizzaprince is fantastic just fyi fyi fyi.
That sad moment at the end of a historical figure’s biography when you whisper, “No, don’t go.”
then the power said ‘goodbye’ shortly after Billy lost his pants.
had been resigned to zero power for the rest of the evening. but BAM, power just reappeared. and much as i dig me some candlelight, this definitely has its advantages.
i think i’m going to try re-watching chicago but i predict that this won’t last long because uhhhh-huh.
"I’m going to write to the polka king and ask."
real words with my mother.
OH SHIT I THINK I FINALLY FIGURED OUT MY PLAY MATCH FOR MANNY.
i’ve been thinking around this for a while without really getting into it, and i’ll probably need to do a fuller re-read of the play to be certain, but i thi-ink i like Kyd’s Spanish Tragedy here. BECAUSE. OKAY.
- justice. everywhere, seeking to level wrongs committed and balance all-the-scales. FFS REVENGE IS A CHARACTER. and Manny is pretty clear fuckin’ cut about his debts.
- blood. so much blood.
- but really it’s more about the way the blood is shed so immediately, the way it’s so completely (ish?) a solution. so we have Revenge and the Ghost hanging over the play, all ‘oh yeah, oh yeah the blood’s coming’ and have ‘you want to make me talk? GUESS I’LL BITE OFF MY TONGUE… AND THEN STAB YOU WITH A PEN.’
- it’s in the feeling of the play as a whole. there are ways in which Kyd’s play can seem crude compared to the revenge tragedies that follow. (i don’t like ‘crude’ as a final term of judgment here - especially when the case is given so generally - but it suits for present purposes. is more about the appearance of crudity, anyway.) and it doesss seem that those operating around Manny find his methods to be, eh, unsophisticated. effective, but something from an older world. lacking the polish, if yeh will, of a Hamlet.
- but really not lacking in the speeches of a Hamlet i mean damn Heironimo and friends can reel those words for a good ol’ while.
- ALSO there’s the performative aspect contained within the play itself. setting up the bloodier predecessor of Hamlet’s mousetrap. proclaiming ‘yes this is my show yes everyone just died yes i am both author and actor now it’s your turn.’ and damn, Manny’s all about dramatic effect.
“And never hath it left my bloody heart,
Soliciting remembrance of my vow.
With these, O these accursed murderers,
Which now perform’d, my heart is satisfied.”
“O heavens, why made you night to cover sin?
By day this deed of darkness had not been.
O earth why didst thou not in time devour,
The vile profaner of this sacred bower. […]
O wicked butcher whatsoe’er thou wert,
How could thou strangle virtue and desert?”
also other quotes but i’ll just stop before i toss up half the fucking play. THIS SURE HAS BEEN BABBLED BUT I DON’T CARE. maybe some day i’ll speak more coherently about this and do less glossing over of everything and probably throwing some statements that don’t quite stick. but this gets the idea across so.
"Alack, when once we our grace we have forgot,
Nothing goes right; we would, and we would not."
— Angelo in Measure for Measure